Steve:What is a novel solution?! Since THIS question seems to be driving much 
the current AGI efforts, I think that this should be completely wrung out.My 
program will identify the parts of the problem that ARE known and direct effort 
to the "missing pieces". 

You're right that creativity, small and large, is at the centre of AGI. But 
I've never met an AGI-er who really does want to "wring it out" -  even say 
Minsky. Because the conclusion is painful. And that's that a program can only 
do so much. It can't normally identify "the missing pieces" in creative 
problems.

The main way science does that - and science surely has to be a major paradigm 
of creativity - is, in part, by scientists going out into the field, and 
collecting fresh observations, and performing new tests, (and even touching and 
talking to patients). You have to, of course,  if you're trying to be creative 
and discover something, look for new kinds of evidence and perform new kinds of 
experiments, But there is no substitute for going into the field. You can't 
just do it in the computer room, or study. And you can't just direct others, 
from the comfort of your computational armchair,  to look for you.

Actually this is fundamental to most artistic and historical discovery. And 
it's fundamental to technological creativity. You do have to play around with 
those pieces of metal and get hands-on experience.If you're trying to market 
some new product, it's vital to go out and talk to potential customers. Or are 
you suggesting that scientific, artistic, historical, technological & business 
creativity can be entirely programmed? And AGI-ers needn't talk to investors?

(You do realise, also, that the history of human creativity is the story of 
endless resistance to going out into the field and on location. Natural 
philosophers, for example, had to be dragged out kicking and screaming by 
Bacon, before they became scientists. And this has been repeated in field after 
field. Computer chairs are so comfy).

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agi
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